what was instructive to me about Geekfest was how the presenters and the attendees conceived of the business that broadly, with the emphasis on “story telling,” the desire to capture “real life” in sports coverage, or the importance of a more authenticity in the brand shot. Just as interesting, however, is how much this lack of market distinction is mirrored in news photography itself
Presidential candidates are using Instagram to shape their image and communicate with voters with varying success. A look at their feeds reveals some of their strategies — or lack thereof.
Traditional photojournalism once dominated campaign coverage. Candidates strove to appear “presidential” in staged or stately images, which were then published in weekly picture magazines and daily newspapers or broadcast on the nightly television newscast.
I was born and grew up in Mogadishu, and always wanted to be a photographer but never had the opportunity to study because of the situation in the country. I took my very first pictures when I was very young and got some training from friends that worked for local newspapers. I published my first picture in a newspaper when I was 15. I took it a refugee feeding centre. It was a dream for me when I saw the picture in the local paper! I was so happy. The editor said: “You’re doing a good job. Keep shooting in Mogadishu. Try not to be afraid.”
It is not just the economics of the media that is putting traditional news photographers out of business. It is our troubled relationship with images themselves.
It is not just the economics of the media that is putting traditional news photographers out of business. It is our troubled relationship with images themselves.
The paper is saying that “the world must see the truth,” and hoping that by leaving out photos, people will realize the importance of photography in bringing about change.
When Mary Panzer saw the photos that have at least momentarily focused world attention on a long-term tragedy, she wondered about what the images didn’t make clear.
We’ve seen how technology changed many aspects of our business, some for better and some, tragically, for the worse. We are now in a generation in which great photography, no matter the circumstance in which it’s been captured, leads to clicks and “hearts” and “thumbs up” on social and commercial sites. In our new landscape, that’s rewarding in one sense, but how can it translate to financial support for professionals?
For me, it was the shoes. Aylan appeared in my Twitter feed early yesterday afternoon, and I spent the rest of the day wrecked by his image. More than once I found myself staring out the window, thinking about the boy on the beach
After covering the refugees’ ordeal on the Greek islands, AFP has sent a team of three journalists on the Balkan migrant route to follow the continuation of their journey to an all too uncertain future.
From film-inspired Max Pinckers to war reporter Lorenzo Meloni, from Newsha Tavakolian’s insider’s view to the conceptual work of Richard Moose, from the lyrical Carolyn Drake to the classic approach of Matt Black, the six Magnum nominees for 2015 cover the full range of current documentary trends
If all agents and photographers unanimously worked to a set of ‘professional rules’ and got used to saying NO, then the buyers would have to accept that the value of photography is every bit as important as it was back in those ‘good old days’.
Sadly, I’m unable to predict the future, but I’d simply say that the technical and technological tools available today allow for almost infinite creation and multiple ways of sharing and accessing content
Photojournalism is at a crisis point. A once trusted and venerable calling, journalists are now held at their lowest esteem in history. Why? I can answer that in one word…TRUST!
The Visa pour l’Image evening shows will cover the main events of the past year, from September 2014 to August 2015. Every evening, from Monday to Saturday, the program will begin with a chronological review of these news stories, two months at a time. This is followed by reports and features on society, wars, stories that have made the news and others that have been kept quiet, plus coverage of the state of the world today. Visa pour l’Image also presents retrospectives of major events and figures in history. The Visa pour l’Image award ceremonies are held during the evening programs
When I started this blog in December, one of my initial posts was “The Face of Hate,” which showed a couple of pictures from the first murder trial I ever photographed, the sensational …
I recently took another journey through the massive collection of images from the 1980s that I have loosely assembled in a giant file cabinet down at The Bakersfield Californian, and found another set of images from the William Robert Tyack trial and I’m sharing them here. All but one of them are previously unpublished, and I hope you will find them as fascinating as I do for their historical value.
The story is known territory, one that’s been covered thousands of times. But this time it is different and disconcerting, even for someone who has been on it for so many years.
Michael Christopher Brown will never forget the first time he experienced armed conflict. He was documenting the Libyan conflict in 2011 when tragedy struck.
Photographer Michael Christopher Brown traveled by car into Libya with a digital camera in his hand and adventure in his heart. He intended to document an uprising, but as it escalated, he wanted — no, needed — to experience armed conflict
